1. Field
The present disclosed subject matter is in the field of protective covers for musical instruments, and more specifically guitars.
Quality guitars are expensive instruments. In addition to being highly prized possessions of serious musicians, they can become collector items of great value. Musicians and collectors accordingly take great pains to care for and preserve the finishes of their guitars, which often consist of expensive or exotic woods. However, guitars are ultimately meant to be used, and their use subjects them to wear. A common area of wear is the soundboard at the upper portion of the lower bout where the forearm rests on the guitar in a normal playing position. This wear is most evident when an instrumentalist plays sleeveless in which sweat and oils from the arm come in contact with the various parts of the instrument.
2. Prior Art
In the art, there are a number of guitar protecting devices, however they all have their limitations and serious shortcomings. There is a need for an improved, cost effective and functional protecting device. A common device for protecting a guitar's surface is an elasticized cloth “sock” which fits over the arm of the player. The sock is unattractive, unpleasant to wear, and musicians are generally unwilling to use it during a performance because of its appearance. One form of protection involves a strip of wood permanently glued to the edge of the instrument, which many musicians, collectors and retail dealers are unwilling to use, due to its permanency, and potential damage to the instrument. Another form of instrument protection is a device that through a series of suction cups attaches a wood or plastic edge to the instrument.
Some guitar makers, like Greg Smallman®, propose an armrest integrated to the guitar. An armrest provides three primary benefits: it reduces damping of the top of the guitar caused by the right forearm; it is potentially more comfortable for the player; and it absorbs the wear to the finish that would otherwise happen on the top, the binding, and the side. These benefits are of particular importance for ultra-thin-topped instruments, such as Smallman's, but can subtly improve any guitar, including double-tops. However, the Smallman® armrests are built into the Smallman® guitars. This would require modification to other brand and type guitars and would require gouging out the wood in the guitar to accommodate the armrest. This is a permanent solution that enhances Smallman guitars but will detrimentally effect the value in other guitars that have one installed. Many professional and serious guitar owners would be hesitant to take this permanent step. In addition, Smallman® armrests will not provide sweat absorption from a sleeveless performer.
The Rasgueo-Rest® armrest helps large and tall players avoid hunching-over the guitar, since the guitar's surface area is in effect, “expanded” using the arm-rest, giving the arm-height support needed for good playing posture. Its main value is targeted specifically for taller people and their posture. The Rasgueo-Rest® armrest is made of hard plastic and won't fit in most instrument cases without removal; it requires suction cups to use and doesn't provide soundboard protection from a variety of playing styles. In addition, the Rasgueo-Rest® armrest will not provide sweat absorption from a sleeveless performer.
The Cumberland® acoustic armrest for guitar doesn't provide soundboard protection from a variety of playing styles. The armrest attaches to the guitar with the use of metal clamps, which can be worrisome at best. It does not provide as much comfort to the forearm and it lays on the soundboard and therefore can dampen the sound. In addition, the Cumberland® acoustic armrest will not provide sweat absorption from a sleeveless performer.
The Qualey-Traudt® armrest, made in Germany is constructed of wood and it's large size won't fit in most instrument cases without removal. It always requires attachment to the guitar with suction cups to use and doesn't provide soundboard protection from arm contact using a variety of playing styles. In addition, the Qualey-Traudt® armrest will not provide sweat absorption from a sleeveless performer.
The Liikanen® classical guitar armrest, made in Finland is constructed of wood, will not fit in most instrument cases without removal, and it always requires attachment to the guitar with suction cups to use. In addition, the Liikanen® classical guitar armrest will not provide sweat absorption from a sleeveless performer.
John Pearse® wood armrests are made in the USA, and are made of wood. The armrests require semi-permanent installation using adhesive strips with the risk of damaging the instrument upon removal. In addition, the John Pearse® armrests will not provide sweat absorption from a sleeveless performer.
The Andreas Abel Armrest, made in Germany, is constructed using a plastic mold. Its large size won't fit in most instrument cases without removal and when in use it has to be fastened to the guitar by a clamping mechanism. It is unattractive and doesn't provide soundboard protection from arm contact using a variety of playing styles, particularly with acoustic guitar performers. In addition, the Andreas Abel armrest will not provide sweat absorption from a sleeveless performer and is not customizable to match a wide variety of instruments and their body shapes.
The Plenesom® armrest, from Brazil, is constructed of ivory wood and it's large size won't fit in most instrument cases without removal. It always has to be attached to the guitar requiring suction cups when it is used. It does not provide soundboard protection from arm contact using a variety of playing styles and is not customizable to match a wide variety of instruments and their body shapes. In addition, the Plenesom® armrest will not provide sweat absorption from a sleeveless performer.